Third Concert of the 78th Season
Sunday, March 12th, 2017
Honeywell Center
Scott Humphries, Conductor
| Overture to Nabucco | Giuseppe Verdi | |||
| Ein deutsches Requiem, Op. 45 (A German Requiem) | Johannes Brahms | |||
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Shelley Ploss, soprano Jeremiah Sanders, baritone Manchester Symphony Chorus A Cappella Choir Debra Lynn, conductor |
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I. Chorus |
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The Adams Program Notes by James R. C. Adams |
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| Overture to Nabucco |
Giuseppe Verdi (1813-1901) |
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"Nabucco" is known in English as Nebuchadnezzar. The libretto is based on biblical accounts in Jeremiah and the Book of Daniel. The opera was first performed at La Scala di Milano in 1842. This opera is considered the launching of Verdi's career, although it is not the first of his operas. His earlier works were ridiculed by a number of critics who considered Verdi un-tutored and inexperienced. Even Nabucco suffered some pans, but was nonetheless very successful with the public. Of particular note (pun intended) is the aria, va pensiero sull'ali dorate, meaning "Go, thought, on golden wings" which can be heard in this overture. It is also known as the Chorus of the Hebrew Slaves and is the Hebrew slaves' lament over the loss of their homeland. The opera is the story of the subjection of the Jews by the Babylonians. |
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| Ein deutsches Requiem, Op. 45 (A German Requiem) |
Johannes Brahms (1833-1897) |
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A Requiem, as many of you know, is a Mass for the Dead, and it is also known by that term. The Mass typically consists of two elements: the Ordinary and the Proper. All masses consist of the Ordinary, with five parts, Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. For every day, there are also chants in the Proper, that is, chants for specific reasons. There are masses for every Sunday in the church calendar, but the Requiem is the only Mass which can be performed on any day of the year, for obvious reasons. All five parts of the Ordinary are sung in Latin, except for the Kyrie which is sung in Greek. This Requiem is not like the standard Catholic Mass. According to some biographers, Brahms was not known to believe in the life hereafter. His mass was to comfort the living, not to mourn for the dead or to assert their continued life in Heaven. Brahms had thought of writing a requiem for some time, possibly at the time of the death of his friend, Schumann, in 1856. He worked on the Requiem from 1857 to 1868. Perhaps the death of his mother in 1865 prodded him to finish the work. Unlike a typical mass, consisting of five sections, Brahms' consists of seven parts sung in German rather than in Latin. His argument was that as he had written it to console the living, in their grief, he wanted it to be understood by everyone. He chose the text from Martin Luther's translation of the Bible, both Old and New Testaments. The German Requiem broke with tradition in a number of ways. In addition to being in German, it combines a mixed chorus, solo voices, and full orchestra. The New Grove Dictionary of Music and Musicians describes this work as "not only Brahms' greatest vocal work, but also the central work of his career." |
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I. Chorus (Matthew 5:4, Psalm 126: 5-6 Selig sind, die da Leid tragen, denn sie sollen getröstet werden. Die mit Tränen säen, werden mit Freuden ernten. Sie gehen ihn und weinen, und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben. |
Blessed are those who mourn, for they shall be comforted. Those who sow with tears will reap with joy. They go forth and weep, bearing precious seeds, and return rejoicing, bringing their sheaves. |
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II. Chorus (I Peter 1:24; James 5:7, 8a; I Peter 1:25; Isaiah 35:10) Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen. So seid nun geduldig, lieben Brüder, bis auf die Zukunft des herrn. Siehe, ein Ackermann wartet auf die köstliche Fruncht der Erde und ist geduldig daruber, bis er empfahe den Morgenregen und Abendregen. Aber des Herrn Wort bleibet in Ewigkeit. Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude un Womme werden sie ergreifen und Schmerz und Seufzen wird weg müssen. |
For all flesh is like the grass, and all the magnificence of mortals is like the flowers of the grass. The grass has withered, and the flower has fallen away. So now be patient, dear friends, until the life hereafter. Behold, a husbandman waits for the precious fruit of the earth and is patient until he receives the early and later rain. But the word of the Lord endures forever. The redeemed of the Lord will return and come to Zion with shouts of joy; eternal joy will be upon their heads, joy and delight will overcome them and sorrow and sighing will have to depart. |
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III. Baritone Solo and Chorus (Psalm 39:4-7; Song of Solomon 3:1) Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind Einer Hand breit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht we es kreigen wird. Nun Herr, wes soll ich mich trösten? Ich hoffe auf dich. Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an. |
Lord, teach me that I must have an end, and that my life has an end, and that I must pass away. Behold, my days here are but a hand- breadth before you, and my life is nothing before you. Ah, how insignificant all mortals are, and yet they live so confidently. They go about like a phantom and create so much vain disquiet, they gather things and know not who will receive them. Now, Lord, in whom shall I find consolation? I trust in you. The souls of the righteous are in God's hands, and no torment touches them. |
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IV. Chorus (Psalm 84:1, 2, 4) Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar. |
How lovely are your dwellings, O lord of Hosts! My soul yearns and longs for the courts of the Lord; my body and soul rejoice in the living God. Blessed are those who dwell in your house, those who praise you forever more. |
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V. Soprano Solo and Chorus (John 16:22, Isaiah 66:13; Ecclesiastes 51:35) Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll niemand von euch nehmen. Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt, und habe großen Trost funden. Ich will euch trösten, Wie einen seine mutter tröstet. |
You now have sorrow; but I want to see you again, and your heart shall rejoice, and no one shall take your joy from you. Look upon me: I have toiled and labored a brief time, and now I have found great comfort. I want to comfort you, as one is comforted by his mother. |
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VI. Chorus and Baritone Solo (Hebrews 13:14; I Corinthians 15:51-52, 54-55, Revelation 4:11) Denn wir haben hie kleine bleibende Statt, sondern die zukünftige suchen wir. Siehe, ich sage euch ein Geheimnis: Wir werden nich all entchlafe, wir werden aber alle verwandelt werden; und dasselbige plötzlich in einem Augenblick zu der Zeit der letzen Posaune. Denn es wird die Posaune schallen und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden. Dann wird erfullet werden das Wort, das geschrieben steht: Der Tod ist verschulngen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg? Herr, du bist wurdig zu nehmen Preis und Ehre und Kraft, denn du hast alle dinge geschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen. |
For here we have no permanent place, but we seek the one to come. Behold, I tell you a mystery: we will not all die, but we will all be transformed, and transformed suddenly, in an instant, at the time of the last trumpet. For the trumpet will sound, and the dead will rise up incorruptible, and we will be transformed. Then will be fulfilled the word that is written: "Death is swallowed up in victory. Death, where is your sting? Hell, where is your victory?" Lord, you are worthy to receive praise and honor and might, for you have created all things, and by your will they have their being and are created. |
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VII. Chorus (Revelation 14:13) Selig sind die Toten, die in dem Herren sterben von nun an. Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit, denn ihre Werke folgen ihnen nach. |
Blessed are the dead who die in the Lord from now on. Yea, the Spirit says that they may rest from their labor, for their works follow after them. |
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Manchester Symphony Orchestra Personnel |
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Violin I Elizabeth Smith, Concertmaster Kayla Michaels +^ Thomas Dean, Student concertmaster +^ Rachel Felver Kristin Westover Pablo Vasquez Ilona Orban Linda Kummernuss Violin II Joyce Dubach * Hailey Schneider + Paula Merriman Alexandria Roskos +^ Emily Lynn + Tiffany Hanna + Kristine Papillon Christian Papillon Mimi Papillon Viola Margaret Sklenar * Derek Reeves Olivia Jenks +^ Tyler Mead + Wendy Sandoval Josie Burton Cello Robert Lynn * Michael Rueff +^ Wallace Dubach Chris Minning AJ Jabarin Bass Darrel Fiene * Katie Huddleston Rod Sroufe Piccolo/Flute Kathy Davis * Kathy Urbani Laura Stepanovich +^ |
Oboe Goerge Donner * Nyssa Tierney Clarinet Lila D. Hammer * Mark Huntington Bassoon Erich Zummack * Freddie Lapierre +^ Alex McCrory Contrabassoon Alex McCrory Horn Christen Adler John Morse Matt Weidner Laura Dickey +^ Trumpet Steven Hammer * Mykayla Neilson +^ John Adler Trombone Jon Hartman * Katrina Murray +^ Larry Dockter Tuba Jeff Huber Timpani David Robbins * Percussion David Robbins * MacKenzi Lowry +^ Mason McBride + * Denotes principal + Denotes MU student ^ Denotes Keister Scholarship recipient ** Denotes assistant principal |
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Manchester University A Cappella Choir
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Dr. Debra Lynn, conductor Alan Chambers, rehearsal pianist Elizabeth Smith, rehearsal pianist Special thanks to Sabine Thomas for German pronunciations |
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Sopranos Christine Beery Courtney Douglas McKenzie Hare * Mallory Fletcher Kathy Fry-Miller Madi Kaylor Sarah Kerkes Sierra Lehman Shannon Lee Emily Lynn * Judy Myers-Walls Sabine Thomas Tenors Ron Finney Paul Fry-Miller Nolan McBride Clayton Marcum * Andy Rich Jake Svay * Jeremy Williams Preston Wright |
Altos Hayley Cochran Paige Deal Katherine Haff Pat Hoover Bekah Houff Kayla Maynard Mykayla Neilson * Katie Peden * Emma Nickel Tiffany Reith Lois Snyder Joy Stiffler Laura Stone Janina Traxler Basses Daniel Baker Alan Chambers Grant Ebert Kevin Friermood Matthew Grothouse * Scott Humphries Ben Johnson Michael Rueff * Orion Toepfer * denotes section leader |
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 Shelley
Ploss is an American operatic soprano, and graduate of the
Jacobs School of Music at Indiana University. Ploss has performed such
roles as Mimi in La Boheme, Princess Nicoletta in The Love
for Three Oranges (Prokofiev) and the title role in Puccini's
Suor Angelica. Recently Ms. Ploss has made a change from lyric
soprano to dramatic coloratura, studying such roles as Königin der Nacht
in Die Zauberflöte and Konstanze in Die Entführung aus dem
Serail.While at IU, she studied with Metropolitan Opera baritone Timothy Noble, and Distinguished Professor of Voice Scharmal Schrock. Ploss also participated in Opera Workshop under the direction of world-class soprano Carol Vaness, and master classes with Nic Muni, James Marvel, and Virginia Zeani. Ms. Ploss has been a Young Artist with La Musica Lirica, the Charley Creek Vocal Workshop, Opera Maya, and recently was a member of the Marcello Giordani Young Artist Program and the Crested Butte Music Festival. She is currently studying with Lynn Baker and Claudia Waite. Ms. Ploss is a native of Peru, Indiana, and holds a Bachelor of Arts in Music from Butler University along with her Masters in Music and Performance Diploma from IU. |
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 Jeremiah
Marcèle Sanders, baritone, graduated from Manchester University
in 2014, with a degree in voice and communications studies. Sanders is
currently pursuing a Master of Music degree at Butler University.In 2016, Jeremiah was awarded an Encouragement Award at the prestigious Metropolitan Opera National Council Vocal Competition. He previously sang in Mexico with the San Miguel Institute of Bel Canto and in France. His previous roles include: the mischievous character Gianni Schicchi in Giacomo Puccini's Gianni Schicci, Aeneas in Dido and Aeneas, Sad in Tori Ovel's Now Boarding, and The Major General in Pirates of Penzance. He has studied with Kirsten Gunlogson, Thomas Studebaker, and Debra Lynn. His upcoming engagements include St. Peter in Butler Opera Theatre's production of Too Many Sopranos and his graduate voice recital. This summer he will work with Pittsburgh Festival Opera's productions of Richard Strauss' Intermezzo and the world premiere of A Gathering of the Sons. In addition to singing, Jeremiah is passionate about social justice, dance, and travel. |
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